从婺剧乱弹【三五七】看戏曲曲体的发展轨迹

Seeing the Development Path of the Tune Structure of Traditional Chinese Opera by Taking Luantan-Sanwuqi of Wu Opera as an Example

清代剧坛的"花雅之争",最终以花部乱弹的胜出奠定格局。自此以后,各地方乱弹声腔继续交流融汇,完成了戏曲唱腔形态从曲牌体到板腔体的转型。这一转型过程中,多数地方乱弹剧种是以板腔体的形态稳步流传下来,而有些剧种,则介于两种唱腔形态之间,呈现出明显的"过渡体"样式。文章即以婺剧乱弹【三五七】为例,通过对其唱腔的句式、段式、套式的详尽分析,揭示其"过渡性"艺术形态特征,认为其在传统戏曲音乐发展历程中,具有"活化石"般的艺术价值。

The outcome of the Controversy of Huabu（local dramas）and Yabu（Kunqu Opera） in Qing dynasty,which turned out to be that,Luantan,namely,Huabu outplayed,then,prevailed for a time.From that time on,tunes of Luantan in different place continue to blend,turn over a new leaf of the new tune form of traditional Chinsed operas,that is to say,from Qupai form to Banqiang form.During that transformation,the tunes of some local traditional Chinese operas were characteristics by two forms at the same time,and Luantan-Sanwuqi of Wu opera is one of them.In this article,the author makes an elaborate analysis on its tune,in order to reveal the artistic character of it.Furthermore,it is thought that,Luantan-Sanwuqi,as a living fossil in traditional Chinese operas has very important art value.